"Documentary: Depicts experiences of a new missionary as he gains self-confidence in his work in the Belgian Congo where the people are suspicious and only slowly accept the mission." National Archives.
"Dramatized documentary: Depicts life in the Belgian Congo and French Cameroons." National Archives.
"Documentary: Illustrates plight of leprosy victims before and after the opening of the Bibanga Leper Camp by missionaries." National Archives.
"On the Baptist Kimpese Mission Station, Republic of the Congo." National Archives.
"On camera techniques. Illustrates poor photographic scenes, what caused them, and how to avoid them." National Archives.
"On the challenge of social problems facing the nation's churches. Illustrates poverty, gambling, alcoholism, and drug abuse among teenagers and adults in New York City slum areas." National Archives.
"Good organization of material and excellent photographic presentation of a familiar story make The Staff of Life, by Jack L. Krapp, an attractive and interesting film. Mr. Krapp has an eye for beauty in everyday subjects, and his progressive story of raising, harvesting and milling wheat leaves no detail uncovered in its searching, yet interesting story. Baking procedures are equally thoroughly covered, all in competent cinematography. For those who feel handicapped when working in 8mm., this film would be an inspiration, for certainly one is conscious of no limitation. A noteworthy feature is the clean cut handling of the titles." Movie Makers, Dec. 1939, 636.
"In L'Ile d'Orléans, Radford and Judith Crawley cross a bridge and come back. But they cross a bridge with a difference, because what they see and what they make us see on the other side of that bridge is the inner essence of a withdrawn people, who proudly conserve the memory of things past in the realities of things here. The Maxim Award winner opens a door into a region of Eastern Canada — the Island of Orleans — where old French and old Canadian folkways are lived placidly and with dignity. Actually, the camera crosses a very modern bridge at the film's beginning and returns over it at its end. But, once in L'Ile d'Orléans, in the hands of the two Crawleys, this Twentieth Century box of wheels and gears spins a tale of yesterday, even if it pictures just what its lens sees today. The landscape and the old houses, some of them there for more than two hundred years, set the decor, after which we come to the dwellers in this separate Arcady. They do, with a delightful unconsciousness of being observed, the things that make up their daily lives, and, when invited to take notice of the visitors, they do this with a fine courtesy that is the very refinement of hospitality. Mr. and Mrs. Crawley devote a liberal part of their footage to a careful study of home cheese making, in which camera positions and a large number of close shots turn what might have been a dull and factual record into something of cinematographic distinction. The highlight of the Crawleys' film is a leisurely and sympathetic watching of what is the highlight of life in l'Ile d'Orléans — the country Sunday. We see different churches, all of a general type, but each with its essential neighborhood individuality. Finally, one of these is singled out for an extensive camera visit. Bells ring and the country priest is shown with his gravity and solemn courtesy. The countryside comes to life with its church bound inhabitants who wind over the simple roads slowly yet purposefully and with the assurance of those who know that the land is theirs as it was their fathers'. With such pictures of everyday life, scored with appropriate music for double turntable showing, Mr. and Mrs. Crawley have etched an epoch, in a record which can stand on its own feet with good genre description in any art form. With not a single concession to sentimentality — as should be the case in honest work — but with a sure feeling for that which reaches out for the finer emotions, they have shown us what they found across the bridge. Here is personal filming at its best." Movie Makers, Dec. 1939, 608-609.
"A delightful film of the home is A Greene Christmas, produced by Mildred Greene. Here is a record of a domestic Christmas that may well serve as an exemplar to other movie makers who are tempted to wander far afield. No startling new stunts in technique or effects of continuity are displayed, yet the film is so homelike, pleasant and sincere that it commands recognition as an achievement. Naturally, however, all departments which contribute to the completion of the film are more than adequately handled. The interior lighting, which resulted in perfectly exposed color shots in the familiar home settings, is noteworthy. Special recognition should be accorded the successful, well exposed shots of the subjects out of doors at night in one sequence. All the actors, members of her immediate family and friends, including the producer, were naturally and pleasantly shown, but the palm for outstanding characterization must go to Miss Greene's mother, who played the part of herself in a most delightful and unaffected way. The preparation of the color titles for this film deserves special mention because of their perfect exposure, fine backgrounds and outstanding arrangement of metal script letters. (Miss Greene tells about making A Greene Christmas in Stretching Christmas, in this number of Movie Makers.)" Movie Makers, Dec. 1939, 609.
"In Linden Lea is A. Scott Moorhouse's tribute to a mother land, a tribute paid with distinction and an admirable warmth of feeling. We go to the English countryside, where Mr. Moorhouse sings, in film, the ancient refrain that Chaucer, Shakespeare, Gray, Wordsworth, Jefferies, Kipling and Brooke lifted in the English tongue. It is Mr. Moorhouse's good fortune and his sound cinematic ability that have permitted him to bring what he feels so strongly in a very direct fashion to his audience. His is the last sight of a peaceful England, recorded with vibrant emotion. "Rainbows; and the blue bitter smoke of wood; "And radiant raindrops couching in cool flowers; "And flowers themselves, that sway through sunny hours, "Dreaming of moths that drink them under the moon; " These, Mr. Moorhouse has greatly loved, as did Brooke, and in English woods, he would hope we shall "see no enemy, but winter and rough weather." In this beautiful Kodachrome footage are preserved the byways, the little ways, the errant and individual ways through which wander the casual cows, the meandering motors, the clopping carts and the quiet English, themselves, while to right of them and left of them are "English unofficial roses." And there is "honey still for tea" in this English land, and people to enjoy it, unhurried and unflurried. Mr. Moorhouse has pictured a way of life by suggestion, because his scenes are almost all with few human beings, but he has pictured it sharply and triumphantly, even if tenderly. In this brief essay in film is the essence of "This royal throne of kings, this scepter'd isle, "This earth of majesty, this seat of Mars, "This other Eden, demi-paradise; "This fortress built by Nature for herself "Against infection and the hand of war; '"This happy breed of men, this little world; "This precious stone set in the silver sea . . . "This blessed plot, this earth, this realm, this England." Movie Makers, Dec. 1939, 609, 631-632.
Total Pages: 299
Amateur Cinema